Life — November 26, 1925 — page 30: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

“Classified” ORINNE GRIFFITH, that cele- brated eyesore, is happily cast in “Classified,” an Edna Ferber story considering one of those unscrupulous, hard-boiled, worldly-wise and heaven- protected working girls to be encoun- tered all along the sidewalks of New York. It is a réle infinitely more adapted to Miss Griffith's talents than that of any of the Gertrude Atherton or Zoe Akins grandes dames whom she has impersonated of late. In her performance, Miss Griffith achieves moments of truth; these, how- ever, are the only legitimate moments in the picture. For the movie moguls, as is their way, have seen fit to convert “Classified” into a gag comedy, em- ploying all the current wheezes about the girl who walked home from the automobile ride. It is good stuff of its kind, well directed by Al Santell, and frequently amusing; but it is not within hailing distance of Edna Ferber's story or, for that matter, of reality. “Classified” may be written down as a typical movie. “Seven Keys to Baldpate” that has missed the T is disappointing to record Douglas MacLean mark in his production of “Seven Keys to Baldpate.” What should have been a memorable picture is no better than pretty good. When I say that “Seven Keys to Baldpate” should have made a memo- rable picture I am voicing an advance estimate which appears now to be faulty. George Cohan’s comedy seemed to possess all the elements which make for surefire entertainment on the screen, but an examination of the Mac- Lean picture (and it is produced with all this nimble comedian’s skill) indi- cates that every effect in the play was a purely theatrical effect, imagined and contrived solely for purposes of the stage. The seven keys themselves, cach of which, in the play, caused more uproar- laughter than its predecessor, aren't good for more than a casual snicker in the movie. “Seven Keys to Baldpate” was George Cohan's most artful trick, the perfect evidence of his amazing crafts- manship. But it is of the theatre, and not of the movies, and all the efforts of Douglas MacLean and his over- worked collaborators could not make it otherwise. Manuscripts, like fish, should not be removed from their native element. ious “Lights of Old Broadway” AVING scored her first and greatest hit as an Irish girl in “Little Old New York,” Marion Davies evidently felt that she could prolong the triumph in a similar réle and a sim- ilar situation. She was sadly mistaken, “Lights of Old Broadway” is a pain- fully pale imitation of “Little Old New York” — plotless, characterless and lacklustre. It reeks with atmosphere, which means that historical characters and the current price of eggs are con- stantly being dragged into the sub- titles, at the expense, it may be said, of the continuity. For instance: a little (Continued on page 36) » WANS “ \yass \ N ON THE FLORIDA SPECIAL First Man: MY FRIEND, FLORIDA IS THE LAND OF orrorTUNITY! Second Man (wearily): save it! SAVE IT! I’M A REALTOR MYSELF. comicbooks.com